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Line 14: dans l'ombre, a favorite expression of Victor Hugo's, meaning in the shade, in the dark, in secret, etc.

Page 85, 1. 9: Teignant. Teindre, to dye, to color, comes from Latin tingere; cf. English tinge. For the introduction of the letter d between n and r, cf. plaindre (to pity), from Latin plangere.

Line 16: lavoirs, places where washing is done along the brink The word is derived from Latin *lavatorium; cf. Eng

of a stream. lish lavatory. Cf. dortoir, from Latin dormitorium, English dormitory. Page 86. ELLE AVAIT PRIS CE PLI.—Elle, daughter of the poet, born 1824, married in the spring of 1843 to Charles Vacquerie. In September of the same year she was drowned, together with her husband, in the Seine near Villequier, by the capsizing of a boat. She is the theme of several poems in les Contemplations. pli, habit, lit. fold, English ply.· The jour des morts (date of the poem) is the second of November, celebrated in honor of the faithful dead.

Line 13 attendais. Notice the force of this and the following imperfect tenses.

Page 87, 1.7: raisonner, discoursing upon.

Line 8: Mes quatre enfants, Léopoldine, Adèle, Charles, and François-Victor.

Line 21 poignées, handfuls, formed upon poing (fist), Latin pugnum; donner une poignée de main à, to shake hands with.

Page 88, 1. 2: labours, means terres labourées, equivalent to sillons above.

Line 6 la graine, the seed. Cf. le grain, which denotes also the grain as fruit or product.

Line 10: rumeur, murmur, confused sound.

Line 13: Charle, Charles Hugo, who died in March, 1871. He was the elder of the poet's two sons.

Page 89,1 5. His exile lasted in reality nineteen years.

Lines 9-10. The two remaining children were François-Victor (died 1873), known by his scholarly version of Shakespeare, and the younger daughter Adèle. Victor Hugo was peculiarly unfortunate in his family losses.

Page 90, 1. 1: tremble, aspen-tree, the Latin populus tremula, so called because of the trembling of its leaves.

V. ALFRED DE MUSSET.

Paris, is ranked as

He began to write

Page 91. Alfred de Musset (1810-1857), of the third great poet of the century in France. poems at the age of eighteen. His first volume of verse was Contes d'Espagne et d'Italie (1830). In later collections are Namouna (1832), in imitation of Byron's Don Juan, and Rolla (1833), two of the author's longer poems, which, while powerful in some respects, deal with the idle and extravagant side of life, and, like much more that the poet has written, cannot well be utilized in general text-books. Among his best efforts are les Nuits (1835-37), a series of meditative poems in the form of dialogues between the poet and his muse on nights in May, August, October, and December. Also of the first rank is the Lettre à Lamartine (1836). Musset was elected to the French Academy in 1852, and produced little of value after that date. In his earlier writings he was an adherent of the Romantic movement inaugurated by Victor Hugo. Later he departed from it and satirized it. His imitation of Byron has caused him to be sometimes styled the Byron of France. The qualities of his poetry are grace and passion.

In prose the comedies of Musset and his Proverbes, or dramatized proverbs, show a remarkably strong dramatic instinct. The latter, such as Il ne faut jurer de rien and On ne badine pas avec l'amour, are among the most charming short plays in the literature. His stories are also well known.

Line 4 moutier, an old word for monastère (cf. 1. 6). They are strictly the same word, both coming from Latin monasterium, the first being the earlier popular development, and the second a later learned formation. Moutier (better moûtier) is now little used. There is a popular tendency in Modern French to employ learned words (words formed directly upon the Latin) as being in better style and more noble, in preference to words indigenous to the language. With the above forms compare German Münster.

Line 11: décharnées, weather-beaten. Décharné means lit., stripped of flesh, from chair, flesh (formerly char and charn, Latin carnem). Cf. acharné, maddened, intense, and English carnal, carnival.

Page 92, 1. 7: ouailles, flock, parishioners. Ouaille properly means a sheep, then in Christian symbolism, one of the faithful.

Line 17: vesprées, evenings.

Page 93, 1. 2: veiller, to sit up.

Lines 5-6. Cf. last line of poem.

Line 21: églantine. Eglantine was a prize given at the "Jeux Floraux," poetical contests begun by the troubadours and continued to the present day in the south of France.

Page 94, 1. 16: toast, borrowed from the English, and pronounced in the same way.

Line 22 haillon, rag, tatter.

· lambeau, shred.

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Line 21. This is an allusion to his journey in Italy with George Sand.

Line 25

Pise, Pisa, near western coast of Italy.

Page 96, 1. 3: Brigues, a small village in Switzerland.
Line 5: Gênes, Genoa.

Line 6 Vevay, a hamlet of Switzerland, near Geneva.

Line 8: Lido, one of a group of islands in the lagoons of Venice. Line 17: altéré. The verb altérer has two meanings: (1) to alter (for the worse), perturb, (2) to excite thirst. It comes from Latin *alterare, derived from alter, other; cf. English alter. Cf. German ändern, formed from ander.

Page 97, 1. 11: à, from, considering.

Line 22 voie, from Latin viam (via was already in rustic speech vea). Latin short i (like long e) becomes oi in French; cf. sitim > soif, fidem

Page 99.

foi.

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of one of the author's comedies bearing that title. In the play she sings the first two of the stanzas here given.

Line 7: Voyez-vous pas. In familiar style the ne is sometimes omitted, as c'est pas cher ! c'est pas ça ! etc.

Line 9: souci, verbal subst. of soucier (Latin sollicitare). Cf. soin, which is watchful care.

Line 10: amour, in the sing is fem. in poetry only.

Line 14 fumée, glory; a participial subst. of fumer.

Line 19: moi qui me laissais dire, I who allowed myself to be told.

Page 100.

CHANSON DE FORTUNIO. - Fortunio is a character in one of the author's comedies entitled le Chandelier. In the course of the play he sings this song.

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Line 19: ma mie, for ma amie (then m'amie), representing Latin meam amicam. Notice, in the word ami(e), that Latin long i is retained in French; so vītam > vie, finem > fin, etc. Mie here is not to be confused with mie (a crumb), from Latin mīcam.

Page 101, 1. 1: fleurette dim. of fleur. Fleur is derived from Latin flōrem. Latin long o usually becomes eu in French; cf. hōram > heure, solum > seul, honorem > honneur. Note the meaning of fleur in line 13 below.

Line 20: parfum. The Latin type, per and fumare (to smoke), is seen more clearly in the English word. Latin per becomes par in French. langage; cf. langue.

Page 102, 1. 10: Phidias, the greatest sculptor of Greece, born at Athens about 500 B. C. Praxitèle, Praxiteles, a Greek sculp

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Page 104, 1. 2: se sont passés d'elle. Compare passer, se passer and se passer de.

Line 14: causes. Note that cause and chose (1. 7) are identical in origin. The Latin causa meant first a cause, and later a thing. Line 16 ancien, old, former.

VI. THEOPHILE GAUTIER.

Page 105. Théophile Gautier (1811-1872) was born at Tarbes (department of Hautes-Pyrénées) and educated mainly at the Collège Charlemagne in Paris, his parents having gone there to live when he was very young. His first ambition was to be a painter. This he soon abandoned and devoted himself to the pen; but his love of form and color never left him, and influenced strongly his choice of language. His youth was coincident with the Romantic movement. He early

became an ardent admirer of Victor Hugo, and remained one of his most faithful followers and imitators. His first collection of poems appeared in 1830, republished with additions two years later. Other collections followed, including a series of lyrics entitled Émaux et camées, first published in 1852, and afterwards reissued with new pieces. Gautier's poems as now published comprise three volumes, the Émaux et camées forming the last of the series. The pieces of this third volume are remarkable for their perfect form and their artistic coloring. The last five of the eleven poems here given are taken from this collection. In general Gautier's command of form and his picturesque language are his prominent characteristics.

The variety of literary accomplishment in Théophile Gautier must be emphasized. Besides being a poet, he was a writer of travels, a dramatic and art critic, and a novelist. His descriptions of foreign countries in which he travelled can hardly be equaled for the vividness and picturesqueness of the language, and tax to the utmost the capabilities of the French tongue. He was not elected a member of the Academy, a fact which casts reproach upon that body. PAYSAGE. - The reference to Vergil is Geor. I., 371–372. Line 14: coteaux. Coteau means hill-side and hill. latter meaning it denotes a smaller eminence than colline.

With the

Page 106. VOYAGE. The line from La Fontaine (1621-1695) is found in one of his comedies entitled Clymène. His fame rests principally upon his Fables. The reference to Catullus (Latin poet, 87-47 B. C.) is Carmina XLVI., 7–8.

Line 9 poudre. Poudre (Latin pulverem, English powder) is synonym of poussière only in elevated style, as in the present instance. The latter word is the ordinary one; e. g., il s'élève dans les chemins beaucoup de poussière.

Line 13 bruit, rustles. Bruire is a defective verb, mostly con fined at the present day to poetic language, especially for the confused noise produced by the elements of nature, as le vent bruit, on entend bruire les flots. Bruit (verb) is dissyllabic.

Line 20 dessine. With dessiner compare désigner; both are derived from the same verb, Latin designare.

Page 107, 1. 21: enraye, put on the brake. Enrayer means, first, to put spokes (rais or rayons, cf. English ray and radius) into

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